[2][3] For a major racing scene, Pemberton began with uneasy and "on-edge" chords that escalated into a crescendo until the driver onscreen reached a "driving nirvana, where you are suddenly in the zone and everything has come together.

"[4] Pemberton scored the film in one week,[5] later describing the process as "very intense" and "like driving an actual Ferrari, at very high speeds.

"[7] Rafa Sales Ross of IGN wrote that Pemberton's score "[punctuated] the gritty sounds of thudding metal and roaring engines with heartrending melodies fittingly used as a reminder that Ferrari is a film about loss and longing in all their many forms.

"[8] David Rooney of The Hollywood Reporter called Pemberton's score "propulsive or emotional as required" and wrote that it helped "keep the pace feeling brisk over a two-hours-plus running time.

"[11] On the other hand, Hannah Strong of Little White Lies wrote that "Pemberton's score [felt] misused in places, pitched at such a level it competes with the dialogue.